Telegram-herald., 1887-04-24

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mon1. va emiasut comedian. ana oEs q
tne Mcss zeui4l 4na com palica aba q
men. recalls % miad a. Interview had
sl-n him 10 Chicago. n0w nearly year
axo. Ia ths somewhat lengthy Aad desul-
tory tax Ar Hay nlend expressed himself
quite freely CO yasious sublects connecset
win hLs pFofess-8a; intersperslng ths
tax With maay drcE aaG amusing ansc-
cotes. Speaking cf the necessity 0t Al
astor stldylng as characters from real
Ale, Ar RaymoD1 said
have known prominent professionals
o speod days ana weeks IA following ana
observing men whose ecceutrlcities OF
dress or manner struck them - UNIQUE or
suggestive. is curious. too. how much
one can become interested iu the subjects.
ar1st.caAy. ] mean, and how thought
thus created grows and enlarges untl AZ
lasl q new. HcA-developed character Is Sc
cured. 4rouad which can cluster any num-
Der of stage effects. Characters are living
pictlres 4ad - a ruls the successful actor
is the mau wdo is q close student Ok human
nature and TIE nan sho taxes his subjects
b.nes Ia rare degree memory. magma
ton hamOf. paih3s and dramatic power
O. lavest with charm whatever character
he assumes.
Joe jefferson ani William J. Florence
are mea wao illustrate strong character.
They are close observers aud have taken
tlelr stud IS directly from nature. just
picture 90 yourself one al these gentiemea
in hls dressing he stands IN front
a hs g.ass. doing what = technically
termed hls makeup As he advances
and rcccdcs from the g.lss % make the
effect a. the lines which he IS painting on
= > face. you wEl notice that little By little
Re fails into the peculiar gait aad man
Eerism of the character he Is about 10
assume. and he does tbs unconsciously, as
* be- were plttlng on the part as we'll as
the paint until. as he stands before you,
the transformation IS a. complete IS when
you observe him on the stage. IL Is ike
wise a great test OF ms art that you feel a
kiut OF shock when. after this transior-
nation, you see aim SO CA n chair and be-
gln to talk on subjects which have no
referance 70 the peculiar character in
which he is attired. You don't know
whether you are addressing Joe jefferson
o. Caleb Plumuer. And this feeling IS
not caused so aacn By The difference in cos
tune. tle cOior OF his wig or shades OF
pant. as oy the curious change in facial
EXPIRE sion whi ca he has donned IN keeping
with the department and character OF his
role.
DO think that temperament has much
20 DO with th5 success Of actors and
nctrcssesl Uuquestionably. Most Of our
arst-class actors ara painfully nervous.
People Of tins temperament are never
FUZZY satisfied with their lsbors. They are
perpctually polishing improving and re
viewing The very instant that an actor
Is saissled with b > owa work. az begins
20 deterlorate. An actor should EN- body
his conception with all possible elaoora-
ton of detail Every gesture, every inti-
nation AMI every movement should
seem % illustrate ~ character he por
trays. and il The character IS not in keep
ing with bis temperament. il is quite un-
likely that his lMpersonation wlu be q
faithful portrait o, the character.
why IS 10 taat a play does not meet
vita equal success IN Engian and Amer
/ icai We'll from nay poiat Of Judgment,
much OF The success OK a play IS due
o. naiicnal temperament The humor
that affects an English audience IS 20 q GER
tain extent unlike that which Influences an
America audience What produces loud
laughter in one country, merely creates a
ripple of merrment ia the other, and rice
tersg.
Sometimes when the critics OF the Amer
ican press have bestowed generous praise
on some English importation. the audience
have been cold Had the same piece been
played i1 London, il would have been re-
ce4vcd tV.tu screams OK laughter from be-
gaming % eni American au4isnces, as 4
rule. llslst on back 0oa3 70 = play and
serong or ginIl cnlrIC ter zations. English
plays taat are replets with the finest wit
and satire. according - Engusa notion,
have rarely tesn successful 10 America.
Waat style Of q play interests an Amer
lean audience the mosti They are fairly
divided n their appreciation Of melofra-
matte and strong comedy effects. Too
much comedy is equally as bad as TOO lit.
tie. Pure unadulterated fun for two hours
w1n't DO. There must bs a serious spot ia
plav Even uegso Minstrel. who "a the
maddest wag alive in real life, has 70 BLACK
ur. ana have BIS serious moments
There IS a popular n9tion that people 20
- The theater Co 5o amused, I used 70
tank 50 myself B1t I have got over IT,
: Al OLD frienI OF m.ne used 20 say that
nius-tentas of the people come % thea,sr
g. have their ee.iags outraged. and & the
/ playwright or ths scter doess't outrage
taem thev feel Ike the prgde who kasn't
been insu.fed ov anT body.
Comedy requires as much strerrth a. -
| opposite in pro1gcing Diverse eGects uuon
/ the Imagination. T. f&ct, is is r7 belief
I that comedy requires more Intensity aua
/ magnetism thar ulelo-drama Ard tragedy.
because ia ere case tae actor Uay fad his
I erect createi tv the approximation Of
I touching sting waIe ir tae other. IN iess
I the performer By acton failv Illus
I trates the huuor of an idea. TIRE comedy
/ fsis &c he appreciated and the magnetic
/ power ~ his AT Is absent.
~Tc what do vou think you principally
I owe v8nr success On tAe stareff
-Farres t1ess--ceinT every thing ss We
! a. I know sew aus thoroughly understand
I ing what ! have 20 do. Esrrestness. IN
I tens.tT snd a tacreuEh :6entffra,on Win
aIs part is the Ssv 20 an actors success.
I laere = not an auitence IN ths world
wh.ca vii uot ~ ea-cS - detect the syn
I rst1v between tAs actor ard rs pay
N1w. it's zetunz towart si1ner- tlr1e and
/ Ea match vaa for the dinners What 10
/ you say Il agsl Yssf AIrf1ht CD
sse zoes. There's millions IN iEt Hesdf
Besi here, alae VITA ysu~
Bear ARNOLD